If my previous post sounded like a call to action, maybe this one will help point to the right direction.
You
already should know that I support any motive to learn martial arts, as long as
it is congruent with one’s needs and with a clear vision of what the person is
training for. In that regard, it is obvious that learning traditional martial
systems as a form of cultural study is beyond doubt valuable, but...can it also
be effective as a practical fighting method?
Well,
again, those of you who have read through this blog are aware that I firmly
believe the effectiveness of a combative system is predicated more on training
methodology than its history or the „real deal skills“ of the old masters. So,
there is a way to approach the traditional arts in order to make them usable in
actual fighting? The question „why does
it have to be traditional?“ aside, the answer is – yes! And if you are
wondering how to achieve it, I have a brilliant book to recommend, where the
whole path is superbly explained.
If you
happen to belong to the category of practitioners who seek to go beyond mere
repetition of your chosen art’s techniques, drills and forms, in an attempt to
actually understand the WHYs behind the WHAT and HOW, you cannot afford to skip
The Principle-Driven Skill Development
in Traditional Martial Arts, written by Russ Smith. The title may seem a
bit long, but it tells you exactly what the book is about. Still, let me try to
give you a somewhat closer insight into the material covered. Let me say right
here that subject matter is not limited to a single system – Mr. Smith has background in Chinese (southern
kung fu styles) and Okinawan (goju-ryu) arts, so the book cleverly shows how
the conceptual framework of the former can be used in the latter. But properly
understood, the principles described can be integrated into the training of any
style or system.
The book
is very nicely divided into half a dozen chapters which outline the conceptual
tools one needs to adopt on their way to functionalization in traditional arts.
In the introduction the author aptly addresses the typical problem of
disconnect in the traditional arts, i.e. the lack of adequate synergy among the
main training modes in that environment. He then proceeds to make a significant
point that many instructors, sadly, ignore – teaching is communication, which
is why the instructors need to grasp the basic steps in improving the skill of
their students. Those are presented as the identification of actionable
principles, development and/or modification of the curriculum etc. Sifu Smith
concludes by explaining how to use the book for the best results, and I urge
the readers not to skip this section!
On the
premise of teaching being communication, the next chapter deals with terminology
and fundamental assumptions that serve as the guidelines in the further
treatment of the material. By being aware of the need to accurately describe
these pillars of communicative exchange, the author shows some of the traits of
great instructors. As such, it is important to pay attention to what he has to
say about what martial art is and is not; what is the foundational aim of
self-defense; the distinction between techniques and applications; and key
success factors in one’s training, described as principles, applications¸ and
attributes. This section alone will
make a lightbulb blink many times and lead to numerous a-ha! moments in finally
understanding what has been hindering your or your students’ progress.
With the
foundation set, the author takes us on the tour of general methods (FA),
whose understanding ought to serve as the launch pad for the improvement of the
overall functional skills. He starts with the discussion of three types of
timing in dealing with and opponent (different terminology than mine,
but close in meaning); next is the need for technique stretching to meet the
demands of purpose, physical context and starting point; then the strategic
(dis)advantages of various positions between the participants etc. Excellent
stuff, applicable across the board in any kind of combative endeavor, be it in
in the real world or in the sport arena.
Now we
move to the treatment of tools (XING) that we need to command when
striving to bring the previous principles out. Some of the highlighted ones are
the three gates, three sections, eights bridging principles and so on. They are
not all numerical, LOL, but everything is explained in a concise and
understandable manner, in line with the previously noted need for better
communication. This is probably the chapter where you will gain deeper
understanding of the technical arsenal of your art.
Sifu
Smith’s analysis of power (GONG) as it realities to the improvement and effective
use of a person’s technical skill is second to none! Namely, he manages to
explain the principles of power, leverage and body structure without sinking
into the depths of overly technical engineering or scientific jargon, but also
successfully avoiding to dumb it down to the point of being meaningless.
Hitting the right balance is the trap that too many other writers have fallen into.
He demonstrated similar ability when discussing the four movements concepts of Chinese
systems (sink, float, spit, swallow) – presents practical understanding without
reaching for pseudo-metaphysical terminology that might make it all sound more
advanced, but also potentially confusing.
In
wishing to give his readers an actual working plan of action, the author
concludes with a chapter that delineates a teaching model for skill
development. Here, he points that the functional skill is the result of
going through the stages of knowledge development, understanding and
transference/application. It means the progression from the isolated skills and
rills, through the next step of selecting proper actions via the drills of the
constraint and affordance type, to the experimental testing of application of
in the progressively non-cooperative drills with wider boundaries, such as
classical push hands, chi sao and other more or less free-form exchange
approaches.
All in
all, we have before us a comprehensive treatise of what is frequently
neglected, yet remarkably important aspects of training in the traditional
martial arts. Too often is the notion of tradition limited to the superficial
imitation of costumes and rituals, while failing to identify and respect the
intent that was the driving force behind those arts.
In the
end, as well as the material in the book is explained, Mr. Smith also offers a video instructional
where it is shown in motion, for an even better learning experience. There is
nothing else left but to conclude that this is a phenomenal work, which sets
the new standard to the coverage of traditional martial arts beyond historical
and ethnological approach.
